Vampyros Disco

1979 was a huge years for bloodsuckers, including the Frank Langella Dracula, Herzog's Nosferatu, Salem's Lot, and, uh, Nightwing, among others. Weirdest of all, audiences got two vampire disco comedies, though only one broke through and became a hit (one of AIP's biggest, in fact). Love at First Bite managed to revive the career of George Hamilton and kicked off a new wave of monster comedies throughout the following half-decade or so. The soundtrack is goofy horror fun, an early effort from Charles Bernstein featuring lots of tongue-in-cheek violin music and one monster of an extended gothic dance track, the 12-minute "Fly by Night." Note that the original theatrical version (and TV airings) contain Alicia Bridges' "I Love the Nightlife" during the famous disco dancing scene, but the filmmakers neglected to clear it for other use and so the tune is missing from all extant video versions. It was never included on the soundtrack, but you can easily find the song on plenty of bargain-priced compilations and soundtracks.

The success of Hamilton's Dracula easily overshadowed the nearly simultaneous appearance of Nocturna, Compass International's head-scratching follow-up to the successful Halloween. Dancer Nai Bonet had already been trying to break through as a star for over a decade, but this intended star vehicle proved to be the last nail in the coffin for her career as she proved beyond any doubt that she absolutely could not act. At all. Not even a tiny bit. However, she spends most of her time onscreen either rolling around naked in slow motion or disco dancing, so that's not much of a problem. John Carradine and Yvonne De Carlo pop up in glorified cameos as her vampire relatives, and the late Anthony Hamilton made his big-screen debut here before taking over after the death of actor Jon-Erik Hexum on the bizarre CBS show Cover Up. The Nocturna soundtrack received a big push upon its release but quickly wound up in cut-out bins before being forgotten entirely; a shame, really, as it does have some solid tracks including a great 7-minute main theme, "Love Is Just a Heartbeat Away," from Gloria Gaynor (the same year she released "I Will Survive"). Trivia: Nocturna was one of the earliest titles released on VHS, courtesy of Meda Home Entertainment (quickly renamed Media shortly thereafter), but it's been incredibly hard to find ever since.

Love At First Bite
1. Transylvania Moon
2. Fly By Night
3. Castle Interlude
4. Manhattan
5. Dancin' Through The Night
6. Love Theme (Disco Version)
7. Transylvania Moon (Reprise)

Nocturna
1. Nocturna (Chopin's Nocturne, Opus 55 #1)
2. Love Is Just A Heartbeat Away (Gloria Gaynor)
3. Why Do Lovers Come Together (Jay Siegel)
4. I'm Hopelessly In Love With You (Moment Of Truth)
5. Bitten By The Love Bug (Heaven 'N' Hell)
6. Love At First Sight (Heaven 'N' Hell)
7. Whatcha Gonna Do (Heaven 'N' Hell)
8. Nighttime Fantasy (Vickie Sue Robinson)

And on a completely unrelated note, the always excellent DigitMovies has officially announced the September release for the number one Italian film score on my most-wanted list, Lucio Fulci's Sette Notte in Nero (a.k.a. The Psychic) from the incredible Frizzi-Bixio-Tempera. Heck, it inspired the name of this blog, so that should tell you something. Also coming the same day is Trans Europa Express' awesome prog-rock soundtrack to Il gatto dagli occhi di giada, a.k.a. Watch Me When I Kill. Be sure to buy 'em both!

The Costandinos Beat

Though his name doesn't ring too many bells today, Egyptian-born composer/producer Alec R. Costandinos hit it big on the charts in '78 with his high-concept disco opus, Romeo & Juliet on Casablanca Records, performed with his "Syncophonic Orchestra." Along with masterminding a few semi-successful pop groups (Sphinx, Love & Kisses), he made a name for himself in the clubs in Paris, where he got a gig writing the epic disco score for Trocadéro Bleu Citron, a delirious skating musical revolving around a bunch of Parisian kids. It's all upbeat, catchy stuff, highlighted by the massive, 15+ minute "Trocadero Suite."

As if that wasn't enough to fill out a busy '78, at the end of the year he also released a very unusual concept album, The Hunchback of Notre Dame, a discofied adaptation of the Victor Hugo novel. Yep, it's a dark, gothic, romantic danceathon, and though it technically isn't a soundtrack, the approach is very cinematic throughout. Not surprisingly, the gypsy Esmeralda gets a sassy, Latin-flavored theme that's highly reminiscent of fellow disco-ers Santa Esmeralda (heard most famously in Kill Bill Vol. 1), but the rest is equally fascinating.

A Different Kind of Animal

And the beat goes on... Near the end of the disco era, dancefloor sensation Meco (real name: Meco Monardo) was still riding high on his funked-up versions of music from Star Wars, The Empire Strikes Back, Close Encounters of the Third Kind, and a wild concept album based on The Wizard of Oz. Meanwhile John Landis was set to release his first all-out horror film in 1981, An American Werewolf in London, whose soundtrack consisted of some tongue-in-cheek "moon" rock standards along with about five minutes of incidental music by Elmer Bernstein. Faster than you can say "A naked American man stole my balloons," Landis and the execs at Polygram resolved the problem of releasing a soundtrack by bringing in Meco to pad the whole thing out, tweaking the songs with a few werewolf sound effects, tossing in some extra rock tracks, and adding two original "power dance rock" werewolf songs at the end. The result is a solid contender for the weirdest horror soundtrack ever released.

An American Werewolf in London
1. Blue Moon
2. You Gotta Hurt Me
3. Moon Dance
4. The Boys
5. Bad Moon Rising
6. No More Mr. Nice Guy
7. Werewolf (Loose in London)
8. Werewolf Serenade

Lipstick

Guess what I've got this week? Disco fever! First up, critics had a field day ripping apart Lipstick (or "I Spit on Your Grave with Stars"), a 1976 rape-revenge sickie from Paramount about a fashion model (the late Margeaux Hemingway) who, along with her preteen sister (Mariel), becomes the target of a wacko music teacher (Chris Sarandon) and fails to find justice in the courtroom. Featuring a finale that puts most male-driven vigilante movies to shame, this is way more effective as drive-in trash than as a serious social statement. The music from French pop figure Michel Polnareff is truly schizo, starting off with a dance-driven main theme and a long disco-style score medley; then everything switches as we get two heavy (12+ minutes!) doses of Sarandon's berserk electronic experimental music, best described as Tangerine Dream on crack.

Led Zeppelin Goes Slasher

Between his two notorious Death Wish sequels, director Michael Winner decided for some reason to tackle Scream for Help, a 1984 indie horror-thriller that sat on the shelf for a while before going to home video. The script by Tom Holland (Fright Night) predates the superior The Stepfather by a few years in its story of a teenage girl who can't get anyone to believe her mom's new husband is a psycho, but Winner sleazes things up to a ridiculous degree with loads of sex, gore, and gratuitous profanity. Check it out if you can still find a copy. The soundtrack album hit shelves long before the movie, probably because it was composed by Led Zeppelin's John Paul Jones (with some assistance from Yes' Jon Anderson and, fresh from Death Wish II, fellow Zeppelin member Jimmy Page). You'd be hard-pressed to peg this as a horror soundtrack, but it's still a lot of synth-slathered fun.

Jazz for Junkies

One of the earlier films to deal frankly with the plight of recovering addicts after the taboo-breaking The Man with the Golden Arm, the mostly-forgotten Synanon takes place at California's real Synanon House, "where dope fiends fight their way back!" Check out the fascinating cast, though: Chuck Connors, Stella Stevens, Eartha Kitt, Edmond O'Brien, Alex Cord, Barbara Luna, Richard Conte, and Alex Cord, just for starters. Though he's best known for upbeat pop culture milestones like Batman and The Odd Couple, jazz composer Neal Hefti goes much darker here with an incredible, organ-fueled main theme and a wide variety of incidental tracks. Also, note that amusing, huge black censorship box placed on the album cover to cover up an offending needle.

Synanon
1. Zankie (Main Titles)
2. The Perfect Begninning
3. Main Street
4. Blues For Hopper
5. Hope
6. Tonight's The Night
7. Zankie / Put Your Little Foot
8. Open House
9. Put Your Little Foot
10. Zankie
11. The Whiffenpoof Song

Fun with Roger and Jane

It's debatable whether controversial director Roger Vadim (And God Created Woman) is more famous for his films or his astounding string of female conquests he married, dated or bedded. One of his most fruitful partnerships was his marriage to Jane Fonda, leading to Barbarella and one-third of Spirits of the Dead. However, their first film together was 1964's La Ronde, a remake of the Max Ophuls classic better known to English-speaking viewers as Circle of Love. The plot is that old sexy chestnut about a string of lovers all connected by the wily coincidences of l'amour, with French-speaking Jane as an unfaithful wife who apparently doesn't have much use for clothes. Busy composer Michel Magne contributes the score, a string of romantic melodies appropriate to the period Parisian setting.

After getting married, Roger and Jane returned again in '66 with The Game Is Over, an updated, sexed-up adaptation of Emile Zola's La Curée. Jane plays an unfaithful wife (again) given to scantily-clad aerobics who dallies with her stepson, only to unleash some nasty psychological punishment from her husband. The highlight (both musically and cinematically) is easily the finale in which a nutty, sopping-wet Jane crashes the family's "Green Ball" party. The oh-so-mod, sitar-tinged music comes courtesy of Jean Bouchéty and Jean-Pierre Bourtayre, who also deliver some funky songs mixing psych and soul ("Baby You Know What You're Doing," "Don't Tell Me").

Circle of Love
1. La Ronde
2. Retour De Guerre
3. Bal Champêtre (Valse)
4. Le Soldat Et La Soubrette (Polka)
5. La Soubrette Et L'Étudiant
6. L'Étudiant Et La Femme Du Monde
7. Sophie, "À Coeur Ouvert"
8. Tendresse Bourgeoise
9. Maxim's Grande Époque
10. Salon Particulier
11. Pygmalion Et Galatée
12. Le Tzigane Mène La Ronde
13. Le Tango Des Folies Douces
14. Rêveries Orientales
15. Générique

The Game Is Over
1. Générique Debut
2. Un Certain Regard
3. Scène d'Amour
4. Renée
5. La Serre
6. Scène Du Lac
7. Attente
8. Avant Toi
9. Baby You Know What You're Doing
10. Don't Tell Me
11. Départ De Renée
12. Bal Vert
13. Générique Fin

Six Million Tons Of Icy Terror!

At the height of the disaster movie craze in '78, the notoriously frugal Roger Corman decided to throw his hat into the ring with one of the genre's funniest entries, Avalanche. Rock Hudson, Mia Farrow, and Robert Forster head a decidedly downscale cast of vacationers at a storm-plagued ski resort, while TV action director Corey Allen tries to keep things moving fast enough for viewers not to notice the styrofoam ice blocks. Modern classical composer and USC faculty member William Kraft contributes the music score, which is actually quite solid; the most memorable track is "Bruce and Annette (Jazz)," a great bit that could have wandered in from a prime Piero Piccioni album.

They Know Who You Are

One of the more interesting non-slasher '80s horror films, John Schlesinger's The Believers was promoted as the next great modern urban horror film in the tradition of The Exorcist. Unfortunately some much-discussed last minute edits blunted the story (and ticked off a lot of Santeria practitioners in the process), but the end result is still effective and creepy if you go along with it. Martin Sheen stars as a recently widowed Manhattanite who becomes the target of a malicious cult, with sweaty cop Jimmy Smits warning him of impending danger. Helen Shaver also stars and has a scene involving her complexion no viewer ever forgets. The powerful, very scary score is by J. Peter Robinson, a talented and still-busy composer who had just finished The Wraith and The Gate. Don't listen to it alone!

The Believers
1. Jogging / Cal's Theme / Safety
2. Sacrifice (Main Title)
3. Discovery In Central Park
4. Jessica / Hospital / Cal And Jessica
5. Toyland
6. Cal Remembers Lisa
7. Theatre
8. Sanctuary
9. Cal Drives To McTaggart's / McTaggart's Death
10. Boils / Spiders
11. Retribution And End Title

Master Baxter

At the height of his frantic gig writing scores for American-International Pictures, Les Baxter was mostly busy rescoring European import and doing Roger Corman's great Poe series. However, 1961's Master of the World is a bit of a change of pace, obviously designed to cash in on the recent success of Around the World in 80 Days (which is mentioned no less than twice on the back sleeve notes). Vincent Price and Charles Bronson star in the tale of a megalomaniac determined to enforce world peace, even if it means dragging a bunch of people across the sky in an airship and bombing everyone into submission. This was one of AIP's earliest multi-channel releases (in four-channel "StereoSonic Sound!"), so ol' Les really gets to cut loose with the right-left channel separation here. The music is really lush and grand with a nice old Hollywood feel, crammed with soaring themes and tons of crescendoes.

Schifrin's Voyage

By request, here's another Lalo Schifrin from the dusty vaults -- 1976's Voyage of the Damned, a somber, all-star period piece featuring Orson Welles, Faye Dunaway, Malcolm McDowell, Lee Grant, Katharine Ross, and tons of other folks who weren't busy working on an Airport movie at the time. Excerpts from this score have turned up on various compilations over the years, but here's the whole thing from a promo-only vinyl edition circulated by Schifrin's reps in '76 to encourage an Academy Award nomination. (It worked.) The subject matter (based on the true ordreal of a cruise ship filled with German Jews sent on a fake propaganda voyage to Cuba) dictates a serious score, so Schifrin alternates darker orchestral music with a few upbeat source music cues (notably "Hotel Nacionale") to vary the mood.

The Musical World of Menahem Golan

Okay, back to Cannon Films for a minute. One of the two founders, Menahem Golan, was a producer/director who got his start directing films in Isreal, as well as the 1969 British sexploitation film What's Good for the Goose during his directorial training in England. Upon returning to his homeland, he decided to mount a big-scale musical in the tradition of Fiddler on the Roof; the result was 1974's Kazablan, which was shot in both Hebrew and English versions and was picked up by MGM for international distribution. Future Cannon composer Dov Seltzer (The Ambassador) wrote the music, and while the vocal numbers are pretty standard musical fare (upbeat and moderately catchy), the real standout is three funktastic intstrumentals: "Chassidic Rock," "Getting Dressed Ballet," and especially "Construction Rock Ballet," which could have easily come from a top-rung black action or Bollywood film from the period.

After officially buying Cannon Films from its British founders in 1979, Golan stepped behind the camera again for another colorful, widescreen musical spectacular, this time shot in Germany with a bizarre international cast including newbie Catherine Mary Stewart (Night of the Comet), future BBC staple Grace Kennedy, Joss Ackland (Lethal Weapon 2), and the wonderfully hammy Vladek Sheybal (From Russia with Love) as Mr. Boogalow, a satanic record producer who controls the world of pop culture in the futuristic year of 1994. The end result, The Apple, appalled audiences worldwide with its glam-rock fusion of biblical symbolism, dirty disco, and dieties descending from the sky in pimpmobiles, though it has more recently become a perpetual revival house and midnight movie favorite. The, uh, unique songs are the brainchild of Israeli popster Coby Recht and American composer George S. Clinton (who also appears onscreen as a mind-controlled reporter), later known for much bigger titles like Austin Powers, Wild Things and Mortal Kombat. Xanadu ain't got nothin' on this one, baby.

Kazablan
1. Overture
2. Men Of Respect
3. We Are All Jews
4. Chassidic Rock
5. There's A Place
6. Democracy
7. Construction Rock Ballet
8. Jaffa
9. Hey, What's Up!
10. Rosa, Rosa
11. Kazablan (Get Off My Back)
12. Getting Dressed Ballet
13. Brith Milah Pageant



The Apple
1. BIM
2. Universal Melody
3. Made For Me
4. Showbizness
5. The Apple
6. How To Be A Master
7. Speed
8. Where Has Love Gone
9. Cry For Me
10. Coming
11. I Found Love
12. Child Of Love
13. Creation

Schifrin's Thief

For his first big American film score, Argentinian-born Lalo Schifrin scored a direct hit with his smoking hot jazz-action score for 1965's Once a Thief, a stylish B&W heist yarn whose colorful cast includes Ann-Margret, Alain Delon, Van Heflin, Jack Palance, and Tony Mustante. The director, Ralph Nelson, got his start in TV but struck it big in '64 with Lilies of the Field; unfortunately, the relative obscurity of this film and other future projects (including the notorious Soldier Blue) kept him off the A-list. For some reason Schifrin's score has been buried for decades apart from an occasional rerecording of the main theme popping up on compilations. Here's the original '65 release version in beautiful stereo; the entire score is a bit short, so it's rounded out with a bonus track from Joy House ("The Cat") and The Man from U.N.C.L.E. ("Roulette Rhumba" and "The Man from Thrush"). If you're a regular viewer of Turner Classic Movies, they occasionally show a great vintage 10-minute short about the creation of this score, so keep an eye out for it. Sit back and enjoy, hep-cats!

Basketball with BB

A number of folks have been requesting music from the underrated Charles Bernstein, so here's the first one to make you happy. Way back in 1986, Bernstein and director Wes Craven were fresh off the iconic A Nightmare on Elm Street and teamed up again for Craven's first real studio film, Deadly Friend. The story follows the attempts of a tormented teen scientist (Matthew Laborteaux) to revive the pretty dead girl next door (future skating celeb/gossip favorite Kristy Swanson) by implanting a chip from his pet robot, BB. Not surprisingly, things go very badly afterwards. Unfortunately Warner Brothers wasn't too keen on this tragic, mildly creepy teen love story and insisted on a number of ridiculous changes, including a junky, nonsensical ending. The final result has its share of tampering issues (heck, what '80s Craven movie doesn't?) but still has its good points, namely Bernstein's appropriately electronic-heavy score and a classic gore gag involving cranky Anne Ramsay and a very powerful basketball. For some reason a good chunk of music (including the opening titles!) never made it onto the soundtrack, so if that much-promised CD release ever comes to pass, let's hope it's an expanded special edition. In the meantime, enjoy this tasty dose of '80s synth-horror... and brace yourself for "BB's Song." (Oh yeah, and I was dismayed to just discover my LP of Bernstein's excellent Gator score is in less-than-prime condition; if anyone has a clean rip handy, please share!)

Deadly Friend
1. BB's Theme
2. BB's Song
3. Love Waves
4. Halloween
5. BB's Funeral
6. Hot Head In Bed
7. Back Porch Romance
8. Elvira, Mad Again
9. Nutcracker Street
10. Daddy Dearest
11. Slam Dunk
12. BB Gunned
13. Goodnight Kiss
14. Change of Minds
15. Just Choking
16. Born Again
17. Spotting Pop
18. Body Snatchers

Two Evil Cats

Meow! Here's a strange anomaly in film score history -- an Italian composer who scored the same horror story twice within a decade. It all started when Pino Donaggio (taking a break from his stampede of Brian De Palma films) was hired by the very busy Lucio Fulci in 1981 to score his "freely adapted" version of Edgar Allan Poe's short story, "The Black Cat." Patrick Magee stars as a grizzled old coot who records ambient noises in graveyards and owns a malicious pussycat capable of instigating gory deaths in a small Scottish village. Enter nosy reporter Mimsy Farmer and detective David Warbeck, who try to put a stop to all the feline antics before they're next. It all ends with some impromptu masonry and a yowling kitty, of course. The string-heavy score is highlighted by a terrific main title theme that nicely evokes the Scottish setting and features some of Donaggio's strongest suspense work. Though it was never released, the complete score is presented here from the original recording sessions; sound quality is a bit erratic here and there, but hey, where else are you gonna hear it?

Fast forward to 1990, as Dawn of the Dead producer Dario Argento decided to reunite with George Romero for a two-part Poe anthology film, Two Evil Eyes. While most viewers agree that Romero's "The Facts in the Cast of M. Valdemar" is a sluggish mess, Argento's version of "The Black Cat" succeeds thanks to an avalanche of wild Poe references and a solid performance by Harvey Keitel. Not surprisingly, Donaggio's score is divided into two halves with the much stronger Argento segment coming first. Highlights include the main kid's choir theme ("Dreaming Dreams"), a spooky medieval piece ("Adust Sponsus"), and even a swirling cue inspired by Philip Glass ("The Gothic Town"). Argento must have been pleased with the results, as he used Donaggio again for Trauma and Do You Like Hitchcock? Incidentally, at least one other Italian composer has performed the same twice-in-a-decade feat with one horror story; can you name him?

Laura

Back to the Eurosexy again, this time with controversial British photographer-turned-director David Hamilton, creator of such nymphet classics as Bilitis and Tender Cousins. One of his better films, 1979's Laura, follows the efforts of aging sculptor James Mitchell to woo his old flame, Maud Adams, into letting him do a sculpture of her teen-ballerina daughter, Laura (future New World starlet Dawn Dunlap). French softcore music was all the rage at the time thanks to pop star Pierre Bachelet's work on Story of O and Emmanuelle, so Swiss-born disco star Patrick Juvet decided to take a crack at it with this film and turned out a memorable, lyrical score; in particular, "La Theme de la Statue" ranks with the best of the period. Unfortunately the hard-partying rock lifestyle took its toll on Juvet soon after, sending him into a tailspan until his eventual comeback in the 1990s.

Download (New Link- lossless/FLAC)

Cannon's Warriors

After paying tribute to the much-missed Empire Pictures, it's now time to turn to the undisputed kings of '80s drive-in insanity, Cannon Films. Begun in the 1970s by Menahem Golan and Yoram Globus, Cannon really hit its stride with a string of action films featuring ninjas, vigilantes, and of course, Chuck Norris and Charles Bronson. One of their weirder outings was the 1983 revenge flick Young Warriors, starring James Van Patten, Ernest Borgnine, Richard Roundtree, Lynda Day George, and a young Linnea Quigley. Best of all, it was directed by the amazing Lawrence D. Foldes, who brought you the cannibal caveman classic Don't Go Near the Park and the Linda Blair actioner Nightforce. The score by Rob Walsh (Revenge of the Ninja) is pretty much perfect '80s action music, with a rousing A-Team-style main theme ("American Youth") guaranteed to make you grin like an idiot and even a sinister version of "The Star-Spangled Banner" thrown in for good measure.

Scream Amen, Somebody

Here's another super-rare goodie from the AIP vaults -- the unreleased jazz-horror score for 1969's Scream and Scream Again, the bizarre Gordon Hessler cult horror/sci-fi favorite featuring mad scientists, enforced limb removals, a mad vampiric serial killer, and much, much more. Vincent Price, Christopher Lee and Peter Cushing are all featured (but never together) along with an odd supporting cast including Uta Levka (Carmen, Baby) and Yutte Stensgaard (Lust for a Vampire). The wild music (which was inexplicably dropped on the first few video releases back in the VHS days) is an early effort from David Whitaker, who would go on to provide Hammer Films with two of its best '70s scores (Vampire Circus and Dr. Jekyll & Sister Hyde), not to mention that enduring fan favorite, The Sword and the Sorcerer. As with Pit and the Pendulum, this is taken from a music-and-effects track, which means you'll hear an occasional sound effect in the mix which hopefully won't detract from your enjoyment.

Harrad Sounds

A perfect example of a movie that could never be made today, The Harrad Experiment arrived in 1973 from director Ted Post (who also did Magnum Force and The Baby the same year -- talk about diversity!). The story takes place at an experimental coed college where the students and teachers engage in naked yoga and skinnydipping to free their inhibitions. Luckily there's a bizarre cast around to keep things interesting including Tippi Hedren, Stuart Whitman, and a bunch of usually-naked future stars including Eight Is Enough's Laurie Walters and a pre-Miami Vice Don Johnson-- who met his future wife, Melanie Griffith (Tippi's daughter), on the set of this film. Lucky Don also gets to croon two songs on the soundtrack (way before his Heart Beat days); don't miss the riotous spoken word interlude on "Wait for Me." The instrumental score from Artie Butler (The Love Machine) fares better, ranging from smooth '70s instru-pop to uptempo dance grooves.
Of course, the film's success demanded a sequel, so one year later audiences got Harrad Summer, with Walters returning in the story of four more experimental college kids cutting loose and getting ready for another year at sex school. This time music duties were handed to busy TV composer Pat Williams (The Mary Tyler Moore Show), who had just finished SSSSSSS ("Don't say it, hiss it!"). The approach is fairly similar to the first one, mixing a pop sensibility with some hipster-funk ("Tonight We Swing") to stir things up. Play both of these at your next fondue party.


The Harrad Experiment
1. I Hope I'll Have Your Love (Vocal: Lori Lieberman)
2. Low Fat Yoga
3. Harry And Beth And Stanley And Sheila 4. First Love
5. Wait For Me (Vocal: Don Johnson)
6. It's Not Over (Vocal: Don Johnson)
7. A Bird In The Hand
8. Stanley's Thing
9. You're An Absolute Miracle
10. Go Gently

Harrad Summer
1. Living At Peace With Myself (Main Title) 2. Tonight We Swing
3. Double Wedding
4. Welcome Home Harry
5. The Eyes Have It
6. Let The Love Begin (Vocal: Gene Redding)
7. A Precious Love
8. Let The Love Begin (Instrumental)
9. Continental Breakfast
10. Poopsie
11. I Think I Love You
12. Living At Peace With Myself / Let The Love Begin (End Title)

More Woman Than You Can Handle

1965's I, a Woman kicked off the whole sexy Swedish craze thanks to canny promotion from Radley Metzger's Audubon Films. Soon the world was flooded with skin-laced art films in which young Swedish nymphets underwent sexual awakenings to the strains of groovy music. Three years later, director Mac Ahlberg and composer Sven Gyldmark returned to the well with I, a Woman - Part II, starring sexploitation vet Gio Petré in the continuinig adventures of hot-to-trot Siv. Distributed by Chevron Pictures(!), it made enough money to spawn a third and final installment, I, a Woman 3: The Daughter. This score for the second film mixes the usual romantic cues with some unexpected exotica and psychedelic touches, another fine installment for your sexy cinema music collection.